A fifty-year-old list of numbers prophesying every major catastrophe that took place ever since will make a professor of astrophysics, and a single parent, to race against time to prevent the ones that are yet to happen.
Is pessimistic optimism a term? Does it make sense? It doesn’t, does it? Be it as it may, that’s the oxymoronic feeling you get out of Knowing. But first things first…
“Randomness vs Determinism”, from a philosophical and/or scientific point of view, will become the setup’s foundation, and your mind’s internal debate while watching the confrontation unfolding. One of my favourite Nicolas Cage movie from the noughties where, back then, I couldn’t find many flaws. Watching it now for a second time, eleven years later, I spotted certain plot holes and gimmicks but I didn’t let them get in the way. Yet, it answers all the questions it raises halfway there (not even in the end), and that feels a bit spoonfed for my taste. Regardless, Cage is the right man for the job, Rose Byrne delivers a great performance, the kids are surprisingly convincing, and Ben Mendelsohn, be it in a leading or supporting role, always nails it. Once again, it’s a shame that the film answers everything for you.
The man in the director’s chair is Alex Proyas, a director whose niche is dark fantasy/sci-fi. My personal bests are: The Crow (1994), Dark City (1998), and I, Robot (2004). Unfortunately, he has not been involved in many projects and some of them, I believe, were beneath him. I look forward to watching something of his ’90s style soon.
(Not)Fun fact: The film predicted the BP’s oil spill in the Mexican gulf the year after.
A meteorite of peculiar color, carrying a hostile living organism, strikes a secluded family farm and turns their lives into a sadistic nightmare.
What an opening scene!!! But I’m not convinced that the rest of it is how H.P. Lovecraft envisaged it. But first things first. It’s great to see the talented – yet hurt from the Industry – writer/director Richard Stanley coming back. After The Island of Dr. Moreau (1996) fiasco, Stanley strikes again and, directing-wise, the film lacks nothing. Chasing it for years, the film’s Odyssey finally came to an end when he finally found the money to finance it in early 2019. The acting is also solid. Very convincing performances add to the film’s pros and Nicolas Cage, once more, proves that no matter how many memes, trailer compilations, or other creative visual and audio fun they make out of him that he will not give two s#$%^ and will keep on being… Nicolas Cage! Every, God knows how many unknown films/flops he’s been in every year, there’ll always be this one film that will stand out and perpetuate Cage’s ongoing on and off glory.
The major con is the production’s decision to make it look like the paranoid, cult film Mandy (2018) – same production company behind it. Lovecraft’s world, the way I grew up with visualising anyway, has nothing much to do with this adaptation. The bold, exaggerated colors create a visually incoherent landscape that overshadows the narrative. But don’t take my word for it, what do I know anyway? John Carpenter’s In the Mouth of Madness (1993) is, arguably, the best Lovecraft adaptation out there. If you haven’t watched it, and you are a ‘Lovecraftian’ horror fan, you will fall in love with the film’s paranoia (Do you read Sutter Cane?).
Regardless, Color Out Of Space is a low budget must-watch that definitely deserves your attention. It is not commercial enough but that means nothing. Once you turn your screen off, parts of the film will keep looping in your head. What makes me happy is that, even posthumously, Lovecraft’s legacy is still alive and very rich. Which is exactly the opposite of how he died…
“The World of Apu” is a bimonthly, diverse, and multilingual online film magazine which explores film cultures from around the world.
Below you can find my analysis on a few international films, not particularly well-known ones, that have spawned renowned Hollywood successes (whether critical or commercial). Maybe I can get you to watch either or both of them, and then get you to ask if the Hollywood remake added to the existing film it was indeed necessary.
Producer Elijah Wood sets up a meeting with director Panos Cosmatos and actor Nicolas Cage and they wonder: How do we pitch “Mandy”? They scratch their heads for a while and then it hits them: “I Spit on your Grave” (1978) meets “Hellraiser” (1987) – OK, that didn’t happen.
A hippie cult and their demon rider attack a couple in their secluded cabin in the woods, savagely kill the wife, forcing the husband to watch. And all hell breaks loose…
A psychedelic journey to a sinister world of surrealism which makes acting chameleon Nicolas Cage go absolutely berzerk and pull every beloved face from the “Vampire’s Kiss” (1988) to “Ghost Rider” (2007). Linus Roach is right behind him giving it all! On the other hand, Panos Cosmatos offers a “Grindhouse” experience including his favourite trademarks: High film grain, characters on LSD speaking slowly and in a strange manner, campfires…
One could analyze its sequences separately and write essays on them. But that is boring, and you don’t care. There are certain films or directors (say, David Lynch) that must be watched and either left alone or processed internally. Analysis ruins it. Enjoy the experience. As for people who are hell-bent on pathologically giving negative reviews, maybe it would be best if they didn’t judge a film and rate it according to how they would have wanted it to be made. Maybe they should accept the diversity of cinematic schools of thought and realize how malleable visual storytelling can be.
Received a five-minute standing ovation at Cannes.